andrÉ braun’s gamme et mÉthode pour les … · tance to our understanding of the trombone and...

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ANDRÉ BRAUN’S GAMME ET MÉTHODE POUR LES TROMBONNES REVISITEDTROMBONNES REVISITEDTROMBONNES

HOWARD WEINER

In the fi fth volume of this Journal, I presented a source containing information of impor-Journal, I presented a source containing information of impor-Journaltance to our understanding of the trombone and its usage at the end of the eighteenth and the beginning of the nineteenth century, André Braun’s Gamme et Méthode pour les Trombonnes.1 Since the publication of my article in 1993, I have continued to collect bits of information concerning André Braun and his trombone method. This new material, along with the appearance of two other articles in which Braun’s method is treated,2 made it seem appropriate to offer a sequel to my original article.

André Braun?The various editions of Braun’s Gamme et Méthode pour les Trombonnes give us only the Gamme et Méthode pour les Trombonnes give us only the Gamme et Méthode pour les Trombonnesauthor’s family name. Because there were two brothers of this name who are known to have played trombone, a conclusive attribution proves to be a problem. In an article published in 1995, Raymond Lapie noted that the card catalogue of the Bibliothèque Nationale lists Jean-Frédéric Braun as the author of the Méthode.3 Lapie also mentioned that André Braun and his brother, Jean-Christoph, were members of the Masonic lodge L’Olympique de la Parfaite Estime.4 With this information we have a choice of three possible fi rst names for the author of our trombone method. However, as I pointed out earlier, Fétis attributed the Méthode to André, and the German publisher of Braun’s work, the fi rm of Johann An-dré, Offenbach, was able to confi rm this for me, providing the German form “Andreas.”5

Moreover, an Italian edition, described below, is catalogued in the Österreichische Nation-albibliothek in Vienna under the name “Andrea Braun.” The evidence therefore seems to weigh in favor of André/Andreas/Andrea.

Date of publicationIn my original article, I postulated a date of publication between ca. 1792 and 1795 for the fi rst edition of Braun’s Méthode. In light of research on French music publishers unknown to me earlier, this dating must be slightly revised.6 Since the publishing history of the Méthode involves two closely related publishing houses with similar names and, Méthode involves two closely related publishing houses with similar names and, Méthodein addition, addresses that changed with some frequency, it might also be a good idea to review this aspect in detail. The original publisher of Braun’s Méthode was Jean-Georges Sieber (born in 1738 Méthode was Jean-Georges Sieber (born in 1738 Méthodeat Reiterswiesen, Bavaria). His publishing house, Sieber et Cie, was founded in January 1771 and at fi rst located in the rue des Deux-Écus. In September of that same year the fi rm moved to rue Saint-Honoré, à l’hôtel d’Aligre and was renamed “Sieber musicien.” In à l’hôtel d’Aligre and was renamed “Sieber musicien.” In à l’hôtel d’AligreJanuary 1782 Sieber moved again, staying however in the same street: rue Saint-Honoré,

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HISTORIC BRASS SOCIETY JOURNAL94

no. 92, vis-à-vis l’hôtel d’Aligre. Around 1793 the house numbers were revised, making Sieber’s address rue Honoré, no. 85. (“Saint” was restored to the address only in 1800.) In October 1797 Sieber’s son Georges-Julien joined the fi rm, which was now called “Sieber père et fi ls” (Sieber, father and son). Georges-Julien left his father’s business to establish his own publishing house in January 1799, at which time Jean-Georges Sieber changed the name of his fi rm to “Sieber père.” In February 1803 “Sieber père” moved back across the street to the Hôtel d’Aligre, now with the address rue Saint-Honoré, no. 199 (in 1805 it became No. 123), moving again in 1813 to rue Coquillère, no. 22. After Jean-Georges’s death on 13 January 1822, his wife Marie-Julie carried on the business under the name “Veuve Sieber” (Sieber’s Widow) until February 1824, when it was taken over by Georges-Julien. Georges-Julien Sieber was born on 15 November 1775 in Paris. After working in his father’s fi rm for a bit more than a year (October 1797 to January 1799), he left to establish his own publishing house under the name “Sieber fi ls, gendre de Leduc” (Sieber’s Son, Son-in-law of Leduc) at rue de la Loi, no. 1245. In 1800 he shortened the name to “Sieber fi ls.” The house number was altered to 28 in 1805, and the street name changed back to the pre-Revolutionary rue de Richelieu in 1807. He stayed at this location until April 1809, when he moved to 21, rue des Filles-Saint-Thomas. Following his father’s death, he dropped the suffi x “fi ls” from the name of his fi rm. On 1 June 1825 Georges-Julien’s son (and Jean-Georges’s grandson) Adrien entered the fi rm, which now received the name “Sieber et fi ls.” It is this name that is found on the title page of the copy of Braun’s Méthode preserved in Méthode preserved in Méthodethe Bibliothèque Nationale, and that has been repeatedly confused with the imprint “Sieber pére et fi ls” employed by Jean-Georges Sieber from 1797 to 1799.7 Georges-Julien retired on 1 July 1834, selling the fi rm to his son for 40,000 francs. The business was liquidated by Adrien Sieber in June 1847, only six months after the death of his father on 22 January of that year. The copy of Braun’s Méthode in the Bibliothèque Nationale carries the imprint “Chez Méthode in the Bibliothèque Nationale carries the imprint “Chez MéthodeSieber et fi ls, Rue des Filles-Saint-Thomas No. 21, Quartier Feydeau” on its title page, enabling us to date this edition between 1 January 1825 and 1 July 1834. As I pointed out in my earlier article, this is not the fi rst edition, but rather a reprint for which the original printing plates were employed—with the exception of the title page, which was newly engraved. The imprint on page 4 of this copy of the Méthode is presumably that of the fi rst edi-Méthode is presumably that of the fi rst edi-Méthodetion. The name “Sieber musicien” coupled with the address “rue Honorè ... No. 85” allows us to date the fi rst edition between ca. 1793, when the house number was changed (from No. 92 to No. 85), and 2 October 1797, when Georges-Julien Sieber joined his father’s fi rm. Taking into consideration the reference on the title page to Braun as a “Membre du Conservatoire,” we can set that institute’s date of establishment (3 August 1795) as the earliest likely date for the publication of the Méthode. Thus, André Braun’s Gamme et Mé-thode pour les Trombonnes was probably fi rst published between August 1795 and October thode pour les Trombonnes was probably fi rst published between August 1795 and October thode pour les Trombonnes1797, but possibly as early as 1793.

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EditionsBesides the original edition of Braun’s Mèthode published by Jean-Georges Sieber and the Mèthode published by Jean-Georges Sieber and the Mèthodereprint by Georges-Julien Sieber, my previous article also presented a French-German edition by Johann André, Offenbach am Main, and pointed out that Joseph Fröhlich had relied heavily on Braun for his Vollständige theoretisch-pracktische Musikschule (Bonn, ca. 1811). Recent research done on the André publishing house by Britta Constapel makes it necessary to revise slightly the date of publication of that fi rm's edition of Braun. Rather than 1811, as stated earlier, André’s edition was issued towards the end of 1810.8 An advertisement in the Frankfurter Staats-Ristretto from 11 December 1810 lists the French-German edition under the heading "Neue Musikalien" (new editions of music). Recently, I discovered yet two other “foreign” editions: The fi rst, Scale et Metodo per il Trombone, is an abridged Italian version published by Luigi Scotti in Milan. Scotti, a violinist at the Imperiale Regio Teatro alla Scala and an experienced engraver, was granted permission to print music in December 1826.9 The low plate number of his Braun edition (28) would seem to indicated a date of publication not too long after this. There are several noteworthy aspects to Scotti’s edition. Whereas the Sieber and André editions specify alto, tenor, and bass trombones on their title pages, Scotti mentions neither the alto nor the tenor (Figure 1). As in the other editions, the legend over the text reads “Scale and method for the bass trombone ” (Scale e Metodo per il Basso Trombone) (Figure Scale e Metodo per il Basso Trombone) (Figure Scale e Metodo per il Basso Trombone2). Unlike the Sieber and André editions, which do at least give slide position charts for the alto and tenor trombones, Scotti dispenses with these completely. Also lacking are the two pages of interval execises and simple pieces found in the Sieber edition. Scotti’s hand-somely engraved edition is all of four pages, including the title page. The text itself is a slightly abridged translation of the French original. The single illustration of a trombone differs from that in the original in that it depicts an over-the-shoulder model, but even here the basso trombone is clearly an instrument in Bbasso trombone is clearly an instrument in Bbasso trombone f (Figure 3). As mentioned above, the Scotti edition also provides confi rmation, albeit indirect, of Braun’s fi rst name: The entry for this edition in the card catalogue of the Österreichische Nationalbibliothek gives the author’s fi rst name as Andrea, which is of course the Italian form of André. The other “foreign” edition, Unterricht für die Bass- Tenor- und Alt-Posaune, does not mention Braun at all, giving instead M. Ellenrieder as its author (Figure 5). I have not yet been able to identify Ellenrieder, but that hardly seems necessary since his trombone method is actually little more than a pirated edition of Braun’s. The copy in the Österreichische Nationalbibliothek was printed in Augsburg after 1831 by Anton Böhm,10 its text being taken almost verbatim from the André edition of the Méthode (Figure 6). The quality of the Méthode (Figure 6). The quality of the Méthodeengraving and printing is poor. The illustrated instruments are badly proportioned (Figure 7), with the alto and tenor trombones more resembling S-shaped Renaissance trumpets than trombones (Figure 8). Something not found in the authorized editions of Braun’s Méthode, however, is a page containing three simple trios for three trombones, notated in alto, tenor, and bass clefs (Figure 9).


A Braun manuscript and more...A possible Braun autograph predating the Méthode is to be found among a group of eigh-Méthode is to be found among a group of eigh-Méthodeteen manuscript leaves bound into a copy of Louis-Joseph Francoeur’s Diapason général de tous les instruments à vent in the collection of the Bibliothèque Nationale.de tous les instruments à vent in the collection of the Bibliothèque Nationale.de tous les instruments à vent 11 The four leaves (nos. 6, 7, 8, and 15) dealing with the trombone, and in particular one apparently penned by Braun, have already been mentioned in print, though the descriptions provided were anything but adequate.12

Francoeur’s Diapason général does not contain any information about the trombone. Diapason général does not contain any information about the trombone. Diapason généralThis is not surprising when one realizes that the trombone had not yet been reintroduced into Parisian musical life even as the book was issued in its second printing in 1772. The manuscript leaves obviously represent material that Francoeur collected for a revised edi-tion, which seems never to have appeared. Stewart Carter has surmised that the leaves were written during the 1780s.13

Leaf 6, labelled Etendue des trombonnes donnée par Mr. Braune L.é (Range of the trombones supplied by Mr. Braun the Elder), has six staves (Figure 10). The upper three staves, grouped together by a brace, are in alto, tenor, and bass clefs, respectively. Divided into seven fi elds, they show the tones of the alto, tenor, and bass trombones in each of the seven positions. The fi rst fi eld is labelled fermé (closed); the second, fermé (closed); the second, fermé 1er per per tion (fi rst position); the third, 2me p:me p:me (second position), and so forth. It should be remembered that Braun was originally a trumpet player. He possibly learned to play trombone in the course of training as a Stadtpfeifer before coming to Paris Stadtpfeifer before coming to Paris Stadtpfeiferaround 1773,14 but it was surely the “on-the-job” training in the various Parisian orches-tras that enabled him to later write his Méthode. Yet when he made this position chart for Francoeur, he seems not to have been very familiar with the alto trombone. Indeed, the fi rst two positions (fermé two positions (fermé two positions ( and 1er per per tion) are correctly notated, if somewhat sparsely. Braun falters, however, in the third position (2me p:): The f ' is of course available in this position, but the b is not, and the b is not, and the b b' an octave higher, if really intended, would be the only seventh-partial note given in the entire position chart. Although Braun did not cross out this mistake, he did try again in the next fi eld. This time he got it right, although the spelling cs' - es' - gs' - gs' - g ' - cs'' is rather unorthodox; in the '' is rather unorthodox; in the '' Méthode he employed the more usual Méthode he employed the more usual Méthode af - df - df - d ' - f ' - af' - df- df- d '' . The spelling of the fi fth-position tones, b - ef' - fs' - fs' - f ' - b', is also a bit unusual, and the ' - b', is also a bit unusual, and the ' - b'G in the tenor trombone’s seventh position (G in the tenor trombone’s seventh position (G 6me6me6 ) was surely just a slip of the pen. The fi fth staff also shows the tones available to the tenor trombone, but without the second-partial notes, which, with the exception of Bf, are also not given in the Méthode. The next leaf dealing with the trombone (no. 7) was “supplied by Mr. Lefevre, copy-ist” (Figure 11). A mere scrap of paper torn from a larger sheet, it has three staves labelled H.C. (H.C. (H.C haute contre, i.e., alto), tenore, and Basso, and notated in alto, tenor, and bass clefs, respectively. Each staff shows a chromatic scale. That for the alto trombone extends from a to a to a c'' ; for the tenor, from c'' ; for the tenor, from c'' d to d to d a'; and for the bass, from a'; and for the bass, from a' F to F to F c'. The scale for the bass c'. The scale for the bass c'trombone originally ascended to f ' and was only diatonic. The chromatic notes were obvi-ously squeezed in later, and the tones d' - e'- f ' crossed out. A note explains: “The three last notes can be played, but they are not used.”15 Although the annotation giving the name of

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the respective source is in the same hand (undoubtedly Francoeur’s) on these two leaves, the musical scripts differ, making it likely that the person cited as the source of information was also the scribe. Leaf 8 is written in yet another hand (Figure 12). No source is named. Headed Gamme des Tromboni (“Scale of the trombones”), it offers scales for the des Tromboni (“Scale of the trombones”), it offers scales for the des Tromboni Alto ou haute Contre, Tenor, and Basse trombones that are almost the same as those supplied by Lefevre. The alto trom-bone has two additional semitones both at the bottom and top of its range (now g - d" ). The tenor apparently also had two additional notes at the top, but they have been erased; the lowest tone, d, seems to have been forgotten, and added later. The text below the sys-d, seems to have been forgotten, and added later. The text below the sys-dtem tells us that “one should use the extreme high and low ranges only when absolutely necessary. The middle range of all the wind instruments is always the most beautiful. As an example, see how Mr. Gluck has employed them in Alceste and Alceste and Alceste Iphigénie en Aulide.”16

Leaf 15, which combines the information found on the other three, would seem to be from Francoeur himself (Figure 13). The handwriting is the same as that of the annotations on leaves 6 and 7—those attributed to Braun and Lefevre—but the musical script does not match any of those on the other three leaves. The title at the top of the page has been partially cut away, apparently a victim of the bookbinder’s knife: “Des Trombonnes [Des Trombonnes [Des Trombonnes et de leurs Étendues]” (“Of the trombones and their ranges”). The fi rst three staves are grouped leurs Étendues]” (“Of the trombones and their ranges”). The fi rst three staves are grouped leurs Étenduestogether by a brace, and labelled alto ou haute contre, tenore, and Basso, respectively. A note to the right of this system reads: “This scale was given to me by Mr. Louis of the Opera and by Mr. Lefevre, copyist of the Opera.”17 Louis was undoubtedly the trombonist also known as Lowitz, who, along with the Braun brothers, is said to have played trombone in the fi rst performance of Gossec’s opera Sabinus in 1773.Sabinus in 1773.Sabinus 18 This note might also allow us to attribute leaf 8 to Louis. The chart given here is similar to that on leaf 8, although the ranges have been ex-tended even further. Seven semitones have been added both to the bottom of the tenor’s range (now G - a' ), and to the top of the bass’s range (now F - fsF - fsF - f ' ). The text that follows is an elaboration of that presented on leaf 8:

Note: One should use the tones notated above in whole notes only when absolutely necessary, since the middle range of all wind instruments is always the most beautiful. One writes for these instruments just as one does for the stringed instruments, that is to say, in the key of the piece [i.e., non-transpos-ing]. This instrument should be used only in dramatic pieces, and should therefore only play long tones and fi ller parts. See, as an example, how Mr. Gluck has employed them in his Alceste and Alceste and Alceste Iphigénie en Aulide, etc.19

The bottom half of the page contains Braun’s position chart, labelled here “[The] various positions of the instrument.” Francoeur copied it, mistakes and all, from the leaf described above, though he does seem to have caught the incorrect G in the tenor trombone’s seventh G in the tenor trombone’s seventh Gposition (6e6e6 pe pe tion). In the note to the right of the system, Braun is also described as being “of the Opera.”20

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Although probably published somewhat later than I originally suggested, André Braun’s Gamme et Méthode pour les Trombonnes still lays claim to being the earliest modern trombone Gamme et Méthode pour les Trombonnes still lays claim to being the earliest modern trombone Gamme et Méthode pour les Trombonnesmethod. As the earliest document to depict the tenor and bass trombones as instruments in Bf, however, it has now been supplanted by the manuscript leaf quite possibly in Braun’s own hand. While it is diffi cult to determine to what extent Braun’s work infl uenced trombone playing, it is clear that the Gamme et Méthode found wide distribution, both in authorized Gamme et Méthode found wide distribution, both in authorized Gamme et Méthodereprints and translations as well as in pirated editions, well into the nineteenth century.

Note: In a note, which, similar to the present one, was appended to the end of his Méthode, Braun recommended an étude book by F. Gebauer to be used following his own work. I recently discovered that my transcription—and consequently also my translation—of this note contains a small error: I incorrectly read the seventh word from the end as dix (ten) dix (ten) dixrather than six (six). Gebauer’s work thus contains only six trios for three trombones. But six (six). Gebauer’s work thus contains only six trios for three trombones. But sixmore about this in the following article....

NOTES

1 Howard Weiner, “André Braun’s Gamme et Méthode pour les Trombonnes: The Earliest Modern Trombone Method Rediscovered,” Historic Brass Soceity Journal 5 (1993): 288-308.Historic Brass Soceity Journal 5 (1993): 288-308.Historic Brass Soceity Journal2 Raymond Lapie, “The Braun Brothers, Two Names, One Method,” International Trombone Associa-tion Journal 21 (1995): 30-31; Benny Sluchin and Raymond Lapie, “Slide Trombone Teaching and tion Journal 21 (1995): 30-31; Benny Sluchin and Raymond Lapie, “Slide Trombone Teaching and tion JournalMethod Books in France (1794-1960),” Historic Brass Society Journal 9 (1997): 7-8. The former, obviously written after my article but without knowledge of it, contains a few pieces of information that were unknown to me. Lapie failed however to recognize the signifi cance of Braun’s method.3 Lapie, “The Braun Brothers,” 30-31.4 Lapie’s source for this information was Roger Cotte, who tentatively identifi ed André Braun as instructor of solfège at the Conservatoire at its inception in 1795. See Roger Cotte, La Musique ma-çonique et ses Musiciens (2nd edn, Paris: Editions du Borrego, 1987), pp. 112-113, 169. Oddly, Lapie çonique et ses Musiciens (2nd edn, Paris: Editions du Borrego, 1987), pp. 112-113, 169. Oddly, Lapie çonique et ses Musicienspresented the three names—André, Jean-Frédéric, and Jean-Christophe—for the Braun brothers in the course of his article, yet titled it “The Braun Brothers: Two Names, One Method.”5 Weiner, “André Braun,” 289-291. See also Britta Constapel, Der Musikverlag Johann André in Of-fenbach am Main: Studien zur Verlagstätigkeit von Johann Anton André und Verzeichnis der Musikalien von 1800 bis 1840 (Tutzing: Hans Schneider, 1998), p. 189.von 1800 bis 1840 (Tutzing: Hans Schneider, 1998), p. 189.von 1800 bis 18406 Anik Devriès and François Lesure, Dictionnaire des éditeurs de musique français; vol I: Des origines à environ 1820 (Geneva: Minkoff, 1979), s.v. “Sieber (Jean-Georges and Georges-Julien).”7 Lapie, “The Braun Brothers,” 30-31; Sluchin and Lapie, “Slide Trombone Teaching,“ 7-8. 8 Constapel, Musikverlag Johann André, p. 189.Musikverlag Johann André, p. 189.Musikverlag Johann André9 Music Printing and Publishing (London and New York: Macmillan,Music Printing and Publishing (London and New York: Macmillan,Music Printing and Publishing 1990), The New Grove Hand-books in Music, s.v. “Scotti, Luigi,” by Agostina Zecca Laterza.10 Music Printing and Publishing, s.v. “Böhm,” by Alan Pope. The copy preserved in the Österreichische Nationalbibliothek is designated on the title page as the third printing (3te Aufl age). I have also found 3te Aufl age). I have also found 3te Aufl agebibliographical references to an edition of Ellenrieder issued by Böhm in or before 1829—in this case the publisher would have been Andreas Böhm, Anton’s father—as well as to an edition published by Reitmayr jun. in Regensburg.11 Louis-Joseph Francoeur, Diapason général de tous les instruments à vent (Paris, n.d., 2/1772). The Diapason général de tous les instruments à vent (Paris, n.d., 2/1772). The Diapason général de tous les instruments à vent

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copy in the Bibliotheque Nationale (Ms 1843) contains the annotation Exemplaire de Francoeur, avec divers autographe Supplements, corrections, etc. de l’auteur. In addition, Francoeur’s signature is found on the title page and at the bottom of the fi rst manuscript leaf. 12 Lapie, “The Braun Brothers,” 30; Sluchin and Lapie, “Slide Trombone Teaching,” 8-9.13 Stewart Carter, “Trombone Pitch in the Eighteenth Century: An Overview,” a paper given on 20 November 1998 at the symposium Trombones and Trumpets, History, Acoustics, Playing Techniques in Kloster Michaelstein, Blankenburg (Germany). The mention of Gluck’s opera Alceste in the text of Alceste in the text of Alcestetwo of the leaves (see below) allows us to set 1776, the year of this opera’s fi rst Parisian production, as the earliest possible date for these manuscript notices. 14 In another context, Hermann Eichborn refers to the “Braun brothers from Hannover.” (c.f. Hermann Eichborn, Die Trompete in alter und neuer Zeit, [Leipzig: Breitkopf & Härtel,Die Trompete in alter und neuer Zeit, [Leipzig: Breitkopf & Härtel,Die Trompete in alter und neuer Zeit 1881], p. 45). Researches carried out on my behalf by the Hannover City Archives (civic record books) and Kirchenbuchamt (baptismal records) could not confi rm Eichborn’s information.15 “les 3 Derniers sonts peuvent se faire mais on en fait point d’usage.”16 “il ne faut employer les extrémités du haut et du bas qu’en cas de nécessité absolue, le medium de tous les instruments à vent étant toujours le plus beau. Pour Exemple on peut voir l’Employ que Mr. Gluck a fait dans Alceste et Iphigénie en Aulide.”17 “cette gamme me fut donné par Le Sr. Louis de L’opera, et par Le Sr. Lefevre Copiste de L’opera.”18 Weiner, “André Braun,” 289.19 “Na: il ne faut Employer les tons désignez cy-dessus en Rondes que dans les cas de nécessité absolue, le méduim de tous les instrumens à Vent étant toujours le plus beau. On Coppie pour ces instru-ments comme pour tout instrumens à Cordes, C’est à dire dans le ton dont est fait le morceau. Cet instrument ne doit être employez que dans les Morceaux d’effets et ne doit faire en conséquence que des tenues et des parties de Remplissages. Voyez pour Exemple l’Employ qu’en a fait Gluck dans ses Opéra d’Alceste et d’Iphigénie en Aulide, &c.”20 “Cette Etendue me fut donné par Le Sr Braun L’ainé de l’opéra.”


Figure 2Braun, Scale et Metodo Per il Trombone, p. 2

Figure 1Braun, Scale et Metodo Per il Trombone (Scotti, Milano)Scale et Metodo Per il Trombone (Scotti, Milano)Scale et Metodo Per il Trombone

(S.A. 75. E. 17 from the Musiksammlung der Österreichischen Nationalbibliothek)

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Figure 5Ellenrieder, Unterricht für die Bass- Tenor- und Alt-Posaune (Böhm, Augsburg)Unterricht für die Bass- Tenor- und Alt-Posaune (Böhm, Augsburg)Unterricht für die Bass- Tenor- und Alt-Posaune

(M.S. 11339 from the Musiksammlung der Österreichischen Nationalbibliothek)

Figure 6Ellenrieder, Unterricht für die Bass- Tenor- und Alt-Posaune, p. 2

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Figure 10Braun, manuscript leaf from Francoeur, Diapason général

(Ms 1843, Bibliothèque Nationale de France)

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Figure 12Louis(?), manuscript leaf from Francoeur, Diapason général

Figure 11Lefevre, manuscript leaf from Francoeur, Diapason général


Figure 13Francoeur, manuscript leaf from Diapason général

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